Acts of making and meaning are often interwoven, such that a product of human hands can easily become trapped by a singular definition. The CAC building is the physical realization of Zaha Hadid's philosophy, with every wall, line, texture and material speaking her pronounced vision of contemporary art. Yet as this space surpasses its 11th anniversary and the organization enters its 75th year, the onset of familiarity, convention and habit compels one to move in the opposite direction. What is achieved when, with equal urgency and resolve, the course is reversed and purpose is unmade?

Artists Anne Lindberg and Saskia Olde Wolbers dissolve the comforts and complacency that accumulate in spaces that time solidifies. Lindberg pushes drawing on and off the page, obsessively inscribing lines that evade both resolution and definition. Instead she allows her nomadic constellations to hover and near without ever touching – convening clouds that vibrate with the unseen rhythms of our body's inner workings. Dutch-born, London-based Olde Wolbers orchestrates a cinematic enterprise with equally enigmatic vigor. By submerging handmade sets into water and coaxing narratives to masquerade as reality, she melts the seemingly digital polish of her films with painterly contingency. Olde Wolbers' amorphous engineering also highlights the intricate architecture of Lindberg's drawings, at the same time Lindberg’s threaded color fields reflect the manual DNA of Olde Wolbers' moving images. Their ensuing dialogue softens the geometry of the gallery space, obscuring hard lines and sharp corners to float towards a mysterious horizon.

https://research.gold.ac.uk/id/eprint/21618